Hamlet critics

ACTUAL QUOTES:

"Hamlet's world," Maynard Mack says, "is pre-eminently in the interrogative mood." Harry Levin quotes this, going on to say: "... the word 'question' occurs in Hamlet no less than seventeen times, much more frequently than in any of Shakespeare's other plays. Recalling that it comes as the final word in Hamlet's most famous line," ["To be, or not to be, that is the question," (III, i, 56)] "we may well regard it as the key-word of the play ... Furthermore, besides direct inquiry, there are other modes of questioning, notably doubt and irony...." (3)

L. C. Knights says: "If this ghost turns out to be one who clamours for revenge, then we have every reason to suppose that Shakespeare entertained some grave doubts about him." This is, moreover, a "Ghost whose command had been for a sterile concentration on death and evil."



A.C Bradley
'...while Hamlet certainly cannot be called in the specific sense a 'religious drama,' there is in it nevertheless both a freer use of popular religious ideas, and a more decided, though always imaginative, intimation of a supreme power concerned in human evil and good, than can be found in any other of Shakespeare's tragedies.'

'It was not that Hamlet is Shakespeare's greatest tragedy or most perfect work of art; it was that Hamlet most brings home to us...the sense of the soul's infinity...'

He calls Hamlet a 'tragedy of thought' and says Hamlet's downfall 'is connected rather with [his] intellectual nature and reflective habit than with any yielding to passion'.


Jan Kott 

'Hamlet is a great scenario, in which every character has a more or less tragic and cruel part to play, and has magnificent things to say. Every character has an irrevocable task to fulfill, a task imposed by the author. The scenario is independent of the characters; it has been devised earlier. It defines the situations, as well as the mutual relations of the characters. But it does not say who the characters are. It is something external in relation to them. And that is why the scenario of Hamlet can by played by different sorts of characters. '

Hamlet might so easily have been manufactured into an enigma, or a puzzle, and then the puzzle if sufficient pains were bestowed, could be completely taken to pieces and explained. But Shakespeare created it a mystery, and therefore it is forever suggestive; for ever suggestive and never wholly explicable
Edward Dowden

The single characteristic of Hamlet’s innermost nature is by no means irresolution or hesitation or any form of weakness, but rather the strong conflux of contending forces
A.C. Swinburne

He sees it pictorially, not as the problem of an individual at all, but as something greater and even more mysterious, as a condition for which the individual himself is apparently not responsible, any more than the sick man is to blame for the cancer which strikes and devours him, but which, nevertheless, as its course and development impartially and relentlessly annihilates him and others, innocent and guilty alike. That is the tragedy of Hamlet, as it is, perhaps, the chief tragic mystery of life.
Caroline Spurgeon

Hamlet […] cannot be comprehended except as a study of emotion.
L.L Schüking

The concentration at Ellsinore of all that happens enhances the impression of inactivity, which is enhanced again by the sense given us of the constant coming and going around Hamlet of the busier world without
Harley Granville-Barker

women in hamlet

Women are seen to be a vehicle for the extension of masculinity within hamlet. The two women in the play, Ophelia and Gertrude, are seen as subliminal and reliant upon men to have a status. During the Elizabethan era, women were seen to be socially and physically inferior to men. These characters have far less stage time then the concern which is given to them by Hamlet.

Gertrude, Hamlets mother, is seen to be fully reliant on men to maintain her societal position within the Court. She quickly remarries after her husband dies and marries to the brother of the deceased. Gertrude is completely unaware of the murder that Claudius has undertook on King Hamlet. This reinforces the idea that women were intellectually inferior as it is implied that she should have known that it was him who had murdered her husband.  Another suggestion is that Gertrude was so desperate, she only married Claudius for his wealth and position. By not being able to stand independently shows that she is a typical Elizabethan woman. Hamlet shows his anger at his mothers behaviour, calling her a ‘whore’ and ‘incestious’. The anger felt at his mother is projected onto the other females in the play and thus hamlet makes Ophilia be inferior due to his disillusionment. He was right to be angry as Elizabethan law and the book of common prayers state that it is wrong to marry your husbands brother, however it strike a remarkable resembelance to Henry VIII who married his older brother’s wife, and their offspring was Mary 1, who had just came out of power.

Like hamlets concerns, Shakespeare sublimities Ophilia by having Laertes obsessing over his sister’s virginity. Ophilia can be seen as a doppelgänger of Gertrude as the two main similarities are their naivety and reliance upon men. The language used by Shakespeare shows how subservient she is. She receives instruction and replies ‘I shall obey, my lord’. The use of submissive language automatically puts Ophillia on a lower social standing then the men, and lower than Gertrude, as she is younger. Not only does this show she has no power, she is also reliant on men to explain how to carry out these acts: ‘I do not know, my lord, what I should think’. The need to seek guidance over her thoughts highlight how weak Ophilia is and how men have to control the lesser females. This is also emphisized by the level of control her family has over her; she is used as a pawn to spy on hamlet and further her farthers influence in the English Court, quite possiably for the power of patronage. Ophilia’s role is to show hamlets misguided view on women and how they should be treated. Ophelia could have possibly been a tragic hero, to conquer her dad's control and gain Hamlet's feelings, however because of her societal status, she is only aminor tragic character. Shakespeare utilizes Ophelia to depict inconstancy of women.

Gertrude's inaction in real life is the thing that permits her to be ruled and controlled by the men throughout her life, yet she is additionally to some degree ignorant and unmindful of her environment. Hamlet believes that Gertrude is acting: “ she followed my poor fathers body […] all tears”, and she expects the same from hamlet. Although she is seen to be curt with her tounge and rude to hamlet, she is controlled and influenced by Claudius. Contextually, the husband has control over the wife and this is a prime example. These shows how inferior she is as she can not think for herself.   

Ophilia and Gertrude both die a feminine death to show how weak women are and the role of them dying is for the men, showing again the power they hold. Ophilia dies because of the lack of love from hamlet and the death of her father, both of whom had significant control over her. Gertrude inevitably dies as a result of hamlets duel and claudius’ feelings. By making them both die of fluids, it highlights the feminity as it was known to be a easy death. Gertrudes sppech on ophilias suicide shows the fraility of women. ‘sweets for the sweet’ is significant as it shows women as innocent and with flowers symbolize ‘a young maiden’.

In conclusion, Shakespeare uses women to enhance the masculinity of the main characters. Both characters are extremely subvient and controlled almost fully by men. Although they play a minor role in the play, their impact was large and important in the play.

Hamlet themes, evidence and critics

Theme: Isolation

Isolation is portrayed in hamlet as a extended metaphor for hamlets inner feeling, especially about the loss of his father an the remarriage of his mother.

examples

• Right after his meeting with the Ghost…"I hold it fit that we shake hands and part" and asked them never "to note that you know aught of me."

• Rosencrantz later said, that "the cease of majesty dies not alone; but, like a gulf, doth draw what's near it with it.”- indirect , to claudius about hamlet

• closet scene, Hamlet was mute. He was "loosed out of hell to speak of horrors", but he would not speak them to Ophelia. As Hamlet later said, "hell itself breathes out contagion to this world,"

• KING CLAUDIUS (4,7,54-55) 'Tis Hamlets character. 'naked! And in a postscript here, he says 'alone.’

• Last scene hamlet dies last although one of the first to be poisoned. Shows isolation as wants to be on his own.

Critical thinking

• Mark Thornton-Burnett “abundantly evident is hamlets refusal to fit into neat categorizations. His resistance to generic classification”- by refusing to comply to social normative, hamlet is in fact isolating himself, rather than being isolated by other characters.

• However, characters such as Ophelia and Gertrude who had betrayed him, left him with no other option but to distance himself from those who he loved.

Death

• Death is a central theme within the play; it begins with fascination but later ends up with him pursuing death.

evidence

•        The play starts with death, it shows hamlet questioning the demise of his father. This is projected onto the guards who have recently witnessed the ghost and are protecting themselves from the apparition and the afterlife.

•        Ghost is in purgurtry and hamlets key concern is his fathers soul. Protastants did not believe in purgatory however catholics did.

•        Let me not burst in ignorance, but tell / Why thy canonized bones, hearsed in death, Have burst their cerements

• To be or not to be- still concerned about afterlife and implications of suicide. The soliloquy considers suicide but it is a hypothetical argument. Due to uncertainty of afterlife most would have ended their lives.

• Act 4 scene 4 : ‘Even for an egg-shell’ . The land is not even big enough to bury them all, it is about honour. Use of simile

• Yurik’s skull is the only symbolism of death – memento mori used skulls as a reminder of death and inescapable morality.

• Death restores order in elsinore act 3.1 ‘undiscovered county that no traveller returns from’

critic

• 'It was not that Hamlet is Shakespeare's greatest tragedy or most perfect work of art; it was that Hamlet most brings home to us...the sense of the soul's infinity...‘ – ac bradley

Apperance and reality

• Shakespere presents deception as a critical theme in hamlet. The dramatical technique reveals the deception of self and others.

Evidence.

• Talks about ‘customary suits of solemn black’ , also ‘my inky cloak’, physically wears his melancholy

• Feigning madness “puts an antic disposition on” Act 3, Scene 1 “puts on this confusion” as a revenge strategy,

• Gertrude’s lie about Hamlet’s madness in order to excuse him of the murder of Polonius – “Mad as the sea and wind, when both contend/Which is mightier”

• Ophelia as a foil character, her real madness juxtaposes against hamlet’s deceptive madness

• Madness is a revenge tragedy, Shakespeare’s first tragedy Titus Andronicus, Titus pretends to be mad so that others would let their guard down

• In Elizabethan society, madness was feared.

how is friendship portrayed in Hamlet- grade A

Friendship in Hamlet is portrayed as untrustworthy and limited, thus shown by having only one true friend. Hamlet loses both his mother through remarriage and father through murder as a result of the scandal, thus tries to rely on friends who mostly seem to be spying against him. Hamlet is forced to turn to his friends for consultation and advice. Hamlet's relationship with Horatio is the only lasting friendship there is, and it proves to represent the essence of rational thinking and friendship, while Rosencrantz and Guildenstern, two ‘friends’ who Hamlet has killed for deceit, contrast this by reassigning their loyalties and abandoning their friendship with Hamlet. Another relationship was his relationship with Ophelia, who he shuns and casts away so he can further his quest. Ophelia’s brother is also a key friend who turns on Hamlet after he accidently kills his father.

The most important presentation of friendship is with the loyal Horatio. Horatio is seen to be the first major link to Hamlet as the first to tell Hamlet of this so-called ghost which he is sceptic about. This sets the tone for Horatio's character as wise and un-afraid. This scepticism was also mirrored in Hamlets view of the ghost as he says ‘is this the devil’, whereas Horatio comments ‘it harrows me with fear and wonder’. He is also the most educated scholar, as he went to the University of Wittenberg with Hamlet and the only one among them qualified to speak in such a situation. This demonstrates the respect shown to Horatio from everyone, he is seen as a counsellor and a noble. Horatio establishes his bravery during the opening scene by questioning the ghost. Hamlets friendship with Horatio is concrete, apart from the soliloquies, Hamlet true feelings are only ever caught when it just Horatio and Hamlet on stage. This sharing of intimate feelings may highlight the strength of the bond between them. This can be evidenced when Horatio states that he will commit suicide or die alongside Hamlet in the opening soliloquy. Horatio is ultimately Hamlets ‘right hand man’ who is seen to serve and counsel Hamlet in all times of need. Changing between best friend, counsel, servant and protector, he is Hamlets helper in his search for fate and closure. Christopher Warley stated “To interpret Hamlet, means to become Horatio.” Warley may be suggesting that Hamlet is so reliant on Horatio’s stability for his instability that Horatio is the only one to truly know Hamlets intentions. Although this is said, he could be wrong as Hamlet did not follow his advice with the duel and the ghost refuses to speak to Horatio, which undermines him. The friendship is so significant that Shakespeare has made Hamlet force Horatio to retell the ‘story’ three times in the last scene. By commanding Horatio, as his dying wish, to tell the story to Fortinbras, he is effectively turning Horatio into ‘orator’ and narrator, thereby heighten his position in the play. Shakespeare clearly uses friendship to show that society has not fully ‘crumbled’ and there is still good in human kind.

Rosencrantz and Guildenstern are two indistinguishable friends who Hamlet went to school with. The initial encounter of these foil characters is very significant. Hamlet greets the pair as "excellent good friends" (II, ii). This was seen earlier in the play when Hamlet introduced Horatio. Although the conversation that Hamlet has with Horatio is similar to the one he has with Rosencrantz and Guildenstern (R&G), the tone used for R&G raised many suspicions and questions, forcing Hamlet to question their true intentions. These foil character seem incapable of acting independently, unlike Horatio, and are referred to as one character. R&G try to use their friendship with Hamlet to increase patronage but had to get this through reporting on Hamlet’s weird behaviour. Hamlet is aware of the schemes to which they are part of and instantly distrusts them, causing to a deteoriating of friendships of them and later Ophelia. Although R&G only try to find out what is the matter with Hamlet and does not know of the true fate of the letter that they are to deliver with Hamlet, it is in fact Hamlet who holds little trust and is paranoid. Hamlet sees their friendship as worthless and corrupt, thus he has them executed with little sympathy saying: “'they did make love to this employment. / they are not near my conscience'”. This is the first real death that he meant to happen and he planned. Shakespeare has done this to highlight Hamlets determination and lack of remorse. Tom Stoppard, director of R&G are dead had used these minor characters as tools which are used to boost the understanding of their storylines and enhance the perspectives of the major characters. Stoppard may have done this to highlight the importance of minor characters and their thoughts, however one could also argue this could have been done to show the effects of so called ‘friendship’ and what happens when it is broken.

Shakespeare’s presentation of Laertes as not so much a friend but an accomplice is significant to show that they are foils of each other. Laertes echoes Hamlet but behaves in the reverse; Hamlet is verbal and philosophical but Laertes is physical; where Hamlet thinks, Laertes acts impulsively. This can also be seen through the love of Ophelia, where Laertes wishes to protect her but Hamlet looks to exploit her. Ophelia is an important character for love and deception as she is torn between her love for Hamlet and her societal position as a woman in the Victorian era. Daughters were forced to follow what the father wishes without disobedience, as seen when Polonius tells her to spy on Hamlet and she replies ‘I shall obey, my lord’. This submissive action is seen as undermining in Hamlet and Ophelia’s relationship as well, when he says that she is ‘impure’ and that she should ‘get thee to a nunnery’. By stating such obscene ideas, Hamlet has ended the relationship between them both for his gain or [possibly to not hurt the person who he truly loves.

In conclusion, Shakespeare’s presentation of friendship is contrasting. He makes Hamlet have only one true friend who is not against him, even though Hamlet does not always follow his friend’s advice. This presentation of friendship may be significant to show the independence Hamlet has over his choices and actions, however the presentation of friendship with other characters may highlight the mental instability that the grief of his father has done to him. Although Horatio may be considered a minor character, he is in fact one of the most important characters to understand Hamlets true intention.

how is deception portrayed in Hamlet --> grade A

Hamlet is a Shakespearean tragedy that is generally based on the establishments of deception. The specialty of deception is polished by many characters in the play and it is overflowing all through Elsinore. Every relationship, wether sentimental or familial is tainted by deception. Claudius' bad form is the fundamental plot in the play while Hamlet utilizes sly to affirm the ruler's activities. Ladies are viewed as misleading animals, both Claudius and Hamlet talk about their false appearances. Hamlet reproves the beguilement in court, he talks modest of the kingdom represented by Claudius. Polonius too is aware of the significance of truthfulness however this doubt is not common in his crimes. Laertes, his child, turns into a ready member in a shrewd arrangement while Ophelia, his little girl, capitulates to the natural double dealing that toxins Elsinore.

Elsinore is " an unweeded garden", sin, untruths and deception are the premise of a considerable lot of the connections in the play. The ghost inquiries the commitment of his " seeming virtuous queen" while calling Claudius a "taint beast". This persuades they had unlawful relations when Old King Hamlet was still alive. However in the Closet Scene Gertrude is apparently ignorant of the "foul and most unnatural murder" conferred by Claudius. Their relationship as man and spouse is simply a marriage of accommodation. By wedding Gertrude, Claudius acquires "mine crown, mine own aspiration and my ruler" and consequently, in this patriarchal society, Gertrude gets security and a politically skilful lord. Polonius beseeches Ophelia "not to trust his lies for they are intermediaries", he trusts that Hamlet's "promises to paradise" are deceptive charms to win her support. Different connections in the play additionally hold no ground in genuineness and truth. Polonius' proverb is "this most importantly to thine ownself be genuine then it must take after as the night the day thou then canst not be false to any man", he confers this onto Laertes. Be that as it may, he has little trust in his kids, he sends Reynaldo to Paris to keep an eye on his child utilizing any tricky means accessible to unveil his children mysteries. Polonius simply utilizes Ophelia in one of his servile demonstrations to charm himself with the ruler. He utilizes her like a manikin and alludes to her in a carnal way, "I'll free my girl to him." he controls Ophelia, permitting her to be liable to the double dealing in Elsinore, and fall as grievous casualty.

In the second scene of the play we see Claudius charming himself with the clueless court of Elsinore. He is a politically skilled man and welcomes the "diverted large number" effortlessly. It is his wedding feast "the memorial service heated meats did coldly outfit forward the marriage tables" that has nearly continued his sibling’s burial service. He is a deceitful, usurper of the position of royalty, having submitted the "primal eldest revile, a sibling's homicide", fratricide and regicide, his deception in light of his part as pacifistic ruler is stipulated. He manhandles his position as lord by embellishment his ready squires into servile spies. Polonius, Laertes, Rosencrantz and Guildenstern are all his "pawns “at some point in the play. In spite of the fact that he tries to atone for his "foulest deed" he can't since he is "still posess'd of those impacts for which I did the murder." Upon seeing Claudius in dynamic petition, Hamlet trusts that Claudius has been cleansed of his transgressions, in any case he is still "terribly loaded with bread." He has all the earmarks of being free from wrongdoing however in actuality "words without considerations never to paradise go." This is another case of deceitful appearances. Claudius' double dealing is infectious, in its threat it serves as reason for the play, an impetus and is at last predominant in the peak of the play. Claudius sees the female securing of a cover hatefully, "the whore's cheek, marvels with putting workmanship, is not more terrible than the thing that helps it, than is my foul deed to my most painted word." The straight correlation between the demonstration of hiding crime and camouflaging oneself with make-up, humorously underscores his disgust towards affectation and mask.

"Like Niobe all tears… a mammoth, that needs talk of reason, would have mourn'd longer", Gertrude's "o'erhasty marriage" prompts to Hamlets dissatisfaction concerning ladies. He later finishes up, "slightness, thy name is lady." Hamlet trusts that ladies are flighty in nature and take cover behind a facade,"God hath given you one face and you make yourselves another." This reprimand against all ladies exhibits the uncommon impacts that the "stale projection" and its occupants have on the sovereign. In the Nunnery Scene, Hamlet deceives Ophelia, as his demeanor to ladies has been corrupted, he unfeelingly says to her "i cherished you not." Later as Ophelia is let go Hamlet piercingly abjures and concedes his actual emotions, "I adored Ophelia, forty thousand siblings with all their amount of adoration couldn't make up my entirety." When we first experience Hamlet his state of mind towards lie is obvious. His mom addresses his uprightness and the earnestness of his "trappings and suits of trouble." He dynamically shouts "appears madam I know not appears to be," at first, he resolutely shuns deception, in spite of the fact that his perspectives don't change his activities don't mirror this.

Despite the fact that Hamlet had freely scrutinized false appearances and deception, his arrangement to "catch the inner voice of the ruler" is tricky. In the play The Mousetrap, the "Murder of Gonzago" is portrayed. The connection between's the story inside the play and Claudius' activities are obtrusively self-evident, the play affirms his blame yet like a hefty portion of the occasions in Elsinore it is established in falsification. The specialty of deception is highlighted in the on-screen characters simplicity of passing on profound feeling. Hamlet is astounded by the appearing temperance and validness of their veneer, "what might he do had he the thought process and sign for energy that i have." By receiving a "trick aura" Hamlet may openly reprimand Claudius. Hamlet's pretended craziness is a demonstration of deception, composed to draw consideration far from his suspicious exercises as he tries to accumulate proof to bolster the ghost's disclosures. Polonius acknowledges, "however this be frenzy yet there is strategy in't."

Hamlet knows that outside appearances can slight ulterior intentions and unapparent substances. "That one may grin and grin and be a miscreant at any rate I'm certain it might be so in Denmark, Hamlet is discerning and a decent judge of character. He perceives that his previous closest companions, Rosencrantz and Guildenstern, are plotting with the lord, "you were sent for, and there is a sort of admission in your looks that your modesties have not make enough to shading." Hamlet is frustrated by their unfaithfulness, they have gotten to be casualties of the deception that is a pandemic in Elsinore. Regardless of his capacity to distinguish ill-conceived conduct, Hamlet is found napping in the last scene which prompts to his death.

In the last scene Hamlet is deceived by Laertes and Claudius, he is tested to an apparently blameless fencing match however behind false appearances it is a slippery trap. The vessel is loaded with celebratory wine, though it is bound with toxic substance, unbeknown to the pleased Gertrude who beverages to her child's respect. while trying to disguise his beguiling ways, Claudius confers the most egotistical double-crossing, he makes an apathetic endeavor to spare Gertrude's life. He articulates the words, "Gertrude, don't drink" meagrely with little sympathy for the lady he had guaranteed to be "so conjunctive to my life and soul." The thwart that Laertes uses is immersed with toxic substance.

The eight passings in the play and the murder of Old Hamlet going before the play are all either specifically of by implication an aftereffect of the deception that waits in the court. Laertes knows that "I am fairly murdered with mine own particular bad form", while his dad, Polonius is likewise "raise with his own particular petard." Polonius' demise behind the arras, an image of camouflage, is well-suited for a tricky man. Gertrude is immediately harmed by the wine, she is rebuffed for being unfaithful to her significant other. Ophelia is a honest casualty of the tricky torment of Elsinore. She gets to be distinctly frustrated after Hamlet rejects her and kills her dad, in her franticness she suffocates. In this tragedy the passings Hamlet and Claudius were inescapable yet their conditions were made evermore stunning by double dealing and the utilization of emotional incongruity. The way that the group of onlookers knows that the duel is unreasonable and not what it is by all accounts makes pressure and centers are consideration around the enduring message of the play. In spite of the fact that deception and deceitfulness may rule, they are simply transient and honesty and equity will dependably in the long run triumph. Alongside the passings of the plays hero and adversary, misdirection is toppled. As "flights of heavenly attendants sing (the "sweet sovereign) to his rest" request is reestablished. "Youthful Fortinbras of unchanged metal hot and full" is left to reassemble the flawed state to its previous success.

Deception is the principal goad for the plot and activity of the play. It distinguished and condemned by Hamlet, however he too utilizes it in the play. Double dealing is a valuable instrument in the play for a hefty portion of the characters while additionally prompting to their destruction. Connections, arranges and lives are altogether developed on the establishments of untruths and false appearances yet in the determination, the requirements of deception are overcome and the condition of Denmark is at the end of the day allowed to prosper. It is no more extended 'exhausted, stale, level and unfruitful."

How does Williams portray the character of Stanley and his attitudes? In your answer you should consider Williams’ use of language choices and dramatic techniques

Stanley is the primary male character in A Streetcar Named Desire. His dominating role encompasses the cultural values of Elysian Fields, where men are breadwinners and women are the homemakers. On first appearance Stanley is portrayed as a physically attractive man and dominating attitude towards his wife. He is he is a proud ‘American’ and dislikes people who think they are superior to him. Behind the uneducated and almost degenerate-like behaviour of Stanley, the audience see his manipulative side and determination to break Blanche’s spirits.

The first appearance of Stanley is when he and his friends are coming back from bowling one night. He is carrying a “red stained package from the butchers”, this gives the image that Stanley is dirty and untidy man possibly even a caveman bring home the meat to his wife. The audience can begin to build a picture of who Stanley is by his apparel, he is “roughly dressed in blue denim work clothes” suggesting that he is employed in a low skilled labour-intensive job, not a comfortable office role, this adds to the untidy and ruthless image of him. The stage directions show he is physically attractive “medium height, about five feet eight or nine, strongly, compactly built” the asyndentic description is not dressed in abstract adjectives but it is to the point and factual. The straightforwardness quality about this description hints that Stanley is a man of few words and ‘what you get is what you see with him’.

Williams’ explores Stanley’s appearance particularly when the character “rips off his shirt” and changes to a “brilliant bowling shirt”. The alliteration in this phrase emphasises how much of a wonderful piece of clothing it is, the image of a peacock showing off its feathers is painted in the audiences mind because him replacing his shirt with a ‘brilliant’ one. The dramatic technique of Stanley ripping his shirt off allows the audience to see his well built physique as well, effectively seeing the “animal joy in his being”.

His masculine image is illustrated furthermore when he aggressively and very abruptly “throws the screen door open” and the description of what he looks for in a partner, “sizes up women…with sexual classifications”. He does not care much about personality and intelligence but rather beauty and obedience, this adds to the cavemen like portrayal of him. Stella is “thrilled by” Stanley’s masculinity; she enjoys his empowering and sexual presence. Stanley finds attracting Stella very satisfying as he believes he has the power to attract women from higher social lasses and bring them to ‘his level’. 

He forces his attitudes and way of living on to Stella for instance it is almost the social norm for the men to get drunk on the ‘poker nights’. He does not like the women disrupting his game. This point is highlighted when Stanley uses an imperative “You hens cut out the conversation in there!” the noun ‘hen’ demeans the women in the play. Stanley’s attitude is that women only exist to give birth and to produce eggs (cook food). The animal itself is quite weak and the noises it makes can be quite annoying, this hints on how feeble the women are and how Stanley finds them annoying when they talk too much. 

The use of imperatives and interrogatives directed at his wife suggest he is the dominating person in their relationships. In Scene Eight Stanley is outraged when Stella calls him a disgusting pig, he reacts with repeating the words they have called him. The hyphens used in “pig – Polack - disgusting – vulgar – greasy!” with the added exclamation mark suggest that he is becoming angrier by the second. The letter harsh sounding letter ‘g’ in most of the words puts emphasises how disdainful the words are. Williams is trying to steer the audience into thinking that Stanley very much dislikes his confidence being battered by women.

Male chauvinism is something that is part of Stanley, he believes “Every Man is a King”, he reinforces the declarative sentence with “and I am the king around here” this conveys his attitude to family-life, that males are superior. He ends his turn in the conversation by hurling the cup and saucer and says “you want me to clear your plates”, the image of him hurling the plates symbolise his strength and in this context his rhetorical question is almost a threat. Perhaps he is suggesting that he could physically hurt them with. The dramatic technique of this is of how Stanley hit his wife and how he could do it again just as he has hurled other things.

The male character is portrayed as being highly aggressive and physically powerful throughout the play. The audience in today’s world may well have been shocked by Stanley when he hit Stella during the Poker Night. Regardless of Blanche’s very fake, delusional and manipulative behaviour, Stanley is questionably the real antagonist for hitting his wife. A counterargument to that though maybe that it was socially acceptable in the time the play was set. Eunice and Steve illustrate this argument, they symbolise an exaggerated version of Stanley and Stella. They have an argument, Steve hits his wife and yet they embrace in affection later on, mirroring what happens with Stanley and Stella. William hints on the women’s great dependence on men in this play Stella has always loved Stanley despite his cruel behaviour.

The representation of old and new America is a theme that takes part in the play. Stanley is highly offended by Blanche calling him a ‘Polack’ in Scene Eight. Even though Stanley is of Polish descent, he regards himself as “one hundred percent” American is “proud as hell of it”. The complex sentence he uses creates an effect of him almost reciting a speech on how patriotic he is or singing the national anthem. In his past, he used to be in the army, giving an understanding of how he is prepared to fight for ‘his country. William’s develops the fearless and possibly even noble side of Stanley by projecting his pride.

Compared to Blanche and sometimes even Stella, Stanley’s use of language is not poetic. He does not refer to many early literature examples, he does not use different languages from different cultures or think of many abstract adjectives. Williams uses incomplete sentences for Stanley, after Blanche makes a joke about him, he replies with a “huh” implies that Stanley is slightly lost and dim-witted. The use of language by Stanley is sometimes incorrect. “Wasn’t we happy together” represents his non-standard English, he expects Stella to be used to the way he talks. On the other hand, Williams may have wanted to make this language choice to illustrate spontaneous speech. 

Stanley’s behaviour is characterised as rather degenerate-like. Stage directions that connote animalistic behaviour are weaved through the play. Stanley “stalks into the bedroom”, “jumps up” and “hurls the fur”. He describes their intimacy as “making noise in the night” and getting “them coloured lights going” rather than thinking of a more romantic expression. He describes it quite vividly and slightly childlike as well. However it is arguable that this phrase is quite an evocative phrase and suits their physical relationship. The reference to light foreshadows one of the key themes in the play; this could be a dramatic device to remind the audience of Blanche’s anxious behaviour. 

Blanche describes Stanley as an ape in her disjointed yet poetic and almost planned out extended speech on him. She says he “Eats like one, moves like one, talks like one” the repetition of ‘like one’ creates a narrative element to her speech. The way she describes him sounds as if she is describing a villainous character in a fairytale. Williams generally creates a view that Stanley and Blanche are polar opposites but on close analysis they have some similar characteristics. When the opportunity arises for them to have a cathartic moment, they dramatise themselves. An example of this is at the beginning of Scene Seven “So I been told. And told and told and told!” the build up for the four-part repetition allows Stanley to have a raising tone of voice after each repetition. Stanley also describes Blanche as the villainous character in a fairytale showing they are both in conflict.

Despite his somewhat ‘blunt’ way of speaking and the suggestion that he is uneducated. Stanley can become manipulative on occasions and therefore he is seen as an antagonist at some points. In Scene Five Stanley tries to shock Blanche with his knowledge about her past. “Say, do you happen to know somebody named Shaw?” the lexis “say” is subtle manipulative devise. There was no need for the word to be part of the imperative question but he is trying to soften his question in front of Stella although Blanche knows its deadly meaning. The stage directions of him advancing towards her add tension as he is trying to show he has some aggressive tactics. 

Stanley’s manipulative side is presented when pretends to not have heard Blanche trying to convince Stella to leave Stanley, this triggers what is most likely his permanent hatred against her. He tries to act nonchalant but it is clear that he is putting up a facade due to the unusual optimistic tone in his language. He asks where Blanche is and says hello to her in a friendly manner. There is a feeling of déjà vu as Stanley was only this friendly when he spoke to Blanche in Scene One. Yet the difference here is that towards the end of this scene is the “grin” he has when he looks at Blanche suggesting he is ready to ‘break’ Blanche.

Blanche and Stanley are similar to each other in terms of manipulating Stella. Stanley calls Stella ‘baby’ and ‘honey’. The pronoun ‘baby’ is slightly demeaning and makes her seem more like an ‘object’ rather than a person. Stanley’s attitude on how to get Stella on ‘his side’ is quite simple. He refers to their passionate nights alone and calls her as ‘Stell’ more often. She becomes a person not an object when he name is shortened. Blanche calls her ‘sweetie’ and ‘honey’ when she wants her to do something such as getting a lemon-coke. The similar technique hints on how they are both highly manipulative.

Arguably William portrays the characters particularly Stanley in a humorous manner at times. Stanley’s harsh humour is presented in Scene Five when he laughs at Blanche saying her star sign is a ‘Virgo’, the virgin.

The audience can’t help but feel either anxious and sad or full of laughter when Stanley’s sarcasm is demonstrated. Perhaps the most iconic moment of him enjoying Blanche react negatively is in Scene Nine. Blanche is tricked by Stanley when he gives her a ‘birthday present’. The dramatic technique of a build up of excitement in Blanche, who seems lost for words, until she finds out what the present is. The irony in Stanley’s “I hope you like it” shows us his comical but cruel side. 

In this same scene, Varsouviana “steals” in softly and continues, the stage direction adds to the dramatic effect of Stanley ruining her birthday. The music symbolises the suicide of her husband so in turn we expect Stanley will bring something traumatic to Blanche’s life. He is not the visionary ‘heroic, white knight’ Blanche is looking for her in her fairytale; he is the toxic that poisons her ‘Prince Charming’ dream. Blanche begins to cough and clutches her throat afterwards. This is another dramatic effect because Stanley has the power to even hurt people without touching them – the villainous side is portrayed…

Stanley is characterized as the figure who abandons the chivalric codes Blanche so desperately needs. His forceful behaviour, chauvinistic attitudes toward women, forceful and uncivilised manners are the opposite of the ‘prince’ Blanche so ‘desires’. He can be perceived as the antagonist because of how he treats Blanche.

Portrayal of Women in Hamlet

Portrayal of Women in Hamlet

"Frailty, Thy name is woman," quoted by William Shakespeare, alluding to the claimed inherent weakness of women's character. In Hamlet, the roles of women are minor yet essential to the plot and flow of the play. They have no standing in the society and their voices are never heard. Gertrude, the queen of Denmark and Ophelia, the prince's lover are the only two women in the play that have been portrayed as weak and manipulative. Their actions and fates are greatly influenced by the men's decisions and are also led by the men's power which makes them a weak image of dependent women at Shakespeare's time. Gender inequality is a predominant issue in Hamlet as the two leading women's are characterized as weak, obedient, and are used as tools of manipulation by the male figures in their lives. Ultimately, Shakespeare illustrates a sympathetic image of Gertrude and Ophelia as their downfall can be blamed on how narrow minded and sexist men are. Shakespeare has shown accurate roles of empowerment of women throughout the entire play.

In the play of Hamlet, the female characters have been under the shadows of the male characters by being used for their possessions, status and lust. "Come, go with me: I will go seek the king. This is the very ecstasy of love, Whose violent property fordoes itself And leads the will to desperate undertakings As oft as any passion under heaven That does afflict our natures. (2.1.113-118)" mentioned by Polonius. Here Polonius does not hesitate to use his daughter for his own needs. When Ophelia describes Hamlet's strange behaviour towards her, Polonius immediately interprets this to his convenience. He infers his daughter's description as madness from love which is in his convenience because it can very well mean Ophelia marrying into royalty which would consequently bring him up in society as well. Polonius's intentions are seen through his utterance with desperate tone. He is quick to follow through and this is seen when he quickly says "I will go seek the king." What Shakespeare does is basically have Polonius's action and dialogue happen almost simultaneously. He does not lose one minute in searching out the king because the quicker he informs him, the quicker his social status rises, but this is simply the beginning of using Ophelia as a tool. Secondly, Claudius has put Gertrude in total deception and uses her only to gain the crown. He married the Queen as a strategic move to help him seize the throne away from Hamlet after the death of the King. Without knowing that Claudius killed Old hamlet, Gertrude trusts in Claudius's for having a motive of saving the nation and agrees to marry him. Claudius also disguises himself as a loving and caring stepfather to Hamlet in order to gaining Gertrude's love and trust. For instance, Claudius shows his fictitious love for Hamlet in front of the Queen, "This mad young man but so much our love..."(ActⅣ,i,20) Claudius shows his concern for Hamlet's mental illness, but in his true mind, he has lose his patient with Hamlet and having the intention to kill him. He tries his best to be really nice caring to the queen so that he could seize the crown easily. Gertrude is objectified by Claudius e.g. third in the triplet "my crown, mine own ambition and my Queen" - shows she does not come first to him. Finally, When Ophelia sings a song about "Before you tumbled me, You promised me to wed." He answers:"So would I ha' done, by yonder sun, An thou hadst not come to my bed." (4.5.67-71). Ophelia's song reflects a mistake she made - she lost her virginity to Hamlet. With her father dead, her brother away, and her virginity lost, Ophelia really does not have a future left as a woman. She is a pitiful character in the end - her insanity is only a product of the victimization she goes through from all ends. It is finally with her suicide that thing for Ophelia change. While she is, in fact, dead - it is only after her death, that anyone says anything good about, which shows something very painful about Ophelia. Not once throughout the play does someone say anything affectionate or demonstrate at all that she is loved. Right before she does commit suicide the queen is also guilty of not wanting to speak to Ophelia, yet after learning of her death, Shakespeare gives her poetic diction when revealing her suicide.

The female characters have not only have been used by the male characters but also have portrayed as being weak-minded throughout the entire play mainly when a tragedy occurred in their lives. For instance, " And will a not come again? And will a not come again? No, no, he is dead, Go to thy death-bed, He never will come again. His beard was as white as snow, All flaxen was his poll. He is gone, he is gone, And we cast away moan. God a mercy on his soul. 4.5.164-96. Here Ophelia mentions about her dad and how his death has affected her in many ways and that way she couldn't handle the death of her father which has caused her to go mad and insane where eventually it leads to her death. Not only does Ophelia in Hamlet portray weak-minded, even Gertrude also displayed this same act of weak-minded. For example, when Gertrude married Claudius just two months after the death of her former husband, Gertrude was afraid to take over the kingdom all by herself so she had to marry her bother-in-law. "Though yet of Hamlet our dear brother's death The memory be green, and that it us befitted To bear our hearts in grief..." (1.I. Lines 1-25). This proves how the Queen wanted to marry Claudius hurriedly instead of mourning for her Old Hamlet. The haste of their marriage shows her weak reliance on men and general neediness "within a month" and "with such dexterity to incestuous sheets." Ophelia specifically agrees with her father not to see Hamlet again: "I shall obey, my lord" (Act I, Scene IV, line 136) This shows that Polonius has complete control over his daughter, with her desire to please her father as the direct cause. Ophelia has an innate desire to please others, even if it means forfeiting her own feelings, and her obedience apparently springs from this. However, I wonder if Ophelia's drastic actions stem from something other than obedience such as her character. Her compliance seems to go deeper than her trying to please her father, and her thoughts and actions show what a weak character she really is.

Ophelia and Gertrude were easy to manipulate around because of not having any say in the society and that they were in control of the men. Claudius' thirst for power enables him to manipulates events, people's and relationships, especially Gertrude's. Claudius disguises himself as a loving and caring stepfather to Hamlet in order to gain Gertrude's love and trust. For example, Claudius shows his fictitious love for Hamlet in front of the Queen,"This mad young man but so much our love.." (4.1.20) Gertrude follows Claudius' directions for interviewing Hamlet in her closet, which lead to Polonius' death. When Gertrude clutches the cup of death, it symbolizes Gertrude literally overruling Claudius " King: Gertrude, do not drink. Queen: I will, my lord, I pray you pardon me (5.2.82). "Gertrude is weak and dependent until the end of the play where her one act of independence causes her death" . And Ophelia: Shows great loyalty to Polonius as she agrees to stay away from Hamlet and ignore his advances towards her Polonius and Claudius uses Ophelia to spy on Hamlet Ophelia, walk you here. (to CLAUDIUS) Gracious, so please you, We will bestow ourselves. (to OPHELIA)Read on this book That show of such an exercise may color Your loneliness, We are oft to blame in this, 'Tis too much proved, that with devotion's visage And pious action we do sugar o'er The devil himself. (3.1.45) "Hamlet's aggressive questioning of Ophelia's honesty and chastity in this interview is followed by the sexual innuendo about lying in her lap to watch 'The Mousetrap' (3.2.112-116). The bawdy meaning of 'nothing', as a reference to the vagina ('a fair thought to lie between maid's legs')" Here, Hamlet manipulates with Ophelia's emotions and also Ophelia is left stressed and confused due to Hamlet's sexual desires.

In conclusion, Shakespeare creates a sympathetic image of Gertrude and Ophelia as their tragic deaths can be blamed on the issue of gender inequality as both characters are illustrated as weak, taking advantage of, and tools of manipulation by the male figures in their lives. Fortunately in present day society, many women have become more independent to overcome many obstacles and challenges to get to where they need to be today!

EXPLORE HOW SHAKESPEARE PRESENTS THE THEME OF GENDER AND SEXUALITY IN ‘HAMLET’

EXPLORE HOW SHAKESPEARE PRESENTS THE THEME OF GENDER AND SEXUALITY IN ‘HAMLET’
POINT/TOPIC	EVIDENCE/ANALYSIS	OPPOSING/ALTERNATIVE VIEW
Adelmans view- Hamlet is driven by complex feelings of sexual insecurity and jealousy towards his mother à actions are driven by sexual insecurity.	·         ‘cruel to be kind’ (3.4) ·         H needs to make G aware of her sins. H uses this as an excuse to become her main focus again. ·         Reflected in opening -> uses an aside to question O’s honour	·         Broadened by looking at H’s behaviour towards women in general. Rejected by Ophelia à H then uses sexual slurs to control her à causing madness
Gender determines power à women victim of male behaviour	·         O à subservient to men in general. ‘I do not know. My lord, what should I think’ ·         Controlled by L and P à L. says ‘ don’t unmask you’re your beauty to the moon’ ‘do not as some ungracious pastors do’ à sexual double standards. ·         Victim of eventual madness à song ‘before you tumbled me you promised me to wed’ à men à her downfall ·         ‘frailty thy name is woman’	Symbol of bravery à exposes sexual double standards of E.England Feminist reading
H= the opposite of a traditional male revenger à sometimes a weakness, as it causes deep pain for H, but also a strength – bale to look at different probs e.g. life after death	·         Reluctant to act in a violent way à indecisive ‘to be or not to be’ à scared, feeling of dread, delay, obseesed by morality ·         ‘ and now ill do it’ à moral crusader but only by opposing masculine ideas. ·         Insipered by . à ‘ a delicate + tender rince’ admire traditional male avenger. à hamlet wishes these traits	·         A humanist hero! ·         Anxious, hesitant, uncertainty. ·         Subverts religious certainty. ·         Embraces the ‘new’ = renaissance ·         Subverts classic revenger in revenge tragedy.

EXPLORE HOW SHAKESPEARE PRESENTS THE THEME OF GENDER AND SEXUALITY IN ‘HAMLET’

In Hamlet, the roles of women are minor yet essential to the plot. They have little power in the society and their voices are rarely listened to. Gertrude, the queen of Denmark and Ophelia, the prince's lover are the only two women in the play that have been portrayed as weak and manipulative. Their actions and fates are influenced by the men's decisions and led by the men's power making them weak and dependent women, which they were at Shakespeare's time. Furthermore, the protagonist, Hamlet, can be argued to have complex feelings towards his mother, leading to his insecurity and jealousy towards his mother and girlfriend. This shows that Hamlet is not the traditional revenger, as he does not decisively and is inactive for the majority of the play. These ideas shall be explored in depth in this essay.

Shakespeare presents the theme of sexuality as complex and in line with the Freud ‘Oedipal complex’. Janet Alderman in her essay "'Man and Wife Is One Flesh': Hamlet and the Confrontation with the Maternal Body" embraces the psychoanalytic tradition of Freud and argues that Hamlet is driven by complex feelings of sexual insecurity and jealousy towards his mother. These actions are often driven by sexual insecurity. Hamlet’s thoughts for the drives of his mother Gertrude are somewhat obliterated and driven by jealousy for her ability to get over his father’s death. In his anger and hurt, he, regardless of her dangerous situation as a woman in Elizabethan England, believes that she is reacting inappropriately to the death by getting over it too quickly. Hamlet continues to criticize his mother by discussing her sexuality, stating, and “O most wicked speed, to post / with such dexterity to incestuous sheets!” Hamlet directly seeks to control his mother’s sexuality. In these examples, Hamlet neglects to identify his mother as a product of anything other than her sexual choices. This climaxes during the ‘closet scene’. This is important, as Shakespeare has purposely had a scene in the bedroom due to its privacy and intimacy; adding a new view when one looks at the relationship between Gertrude and Hamlet. The use of the bedroom, a place where sexual acts usually occur connotes hamlets sexual desires, which Alderman is suggesting. It is also the only time hamlet and his mother have a private conversation. He then states “Not this by no means that I bid you do: Let the bloat king tempt you again to bed, and call you his mouse." This sexual connotation, coupled with the location of the scene, highlight the fact that hamlet acts more as a jealous ex then a son to which he is. This critic’s point can be broadened by analysing Hamlets behaviour to women in general. Hamlet was rejected and tricked by Ophelia, compounding to his anger at women. This led to hamlet to respond by using sexual slurs to control Ophelia, ultimately leading to Ophelia’s death and madness, due to the lack of control women had.

Shakespeare’s presentation of abuse of Women is another route in which the play of Hamlet shows sexuality and gender roles. It is clear to see that women have their roles and power defined for them by men.  This is found specifically through Hamlet's verbal insults coordinated at Ophelia's insight. It is seen that Ophelia is shown to be weak, fragile and ultimately useless. Her father’s taunts of ‘baby’ and a ‘girl’ can see this. This was not unusual in Elizabethan England as women were not ‘women’ until they married and had children. Polonius furthers this male-dominated control, bestowing Ophelia as unable to make her own decisions. For example, when Ophelia speaks to her father she states ‘I do not know my lord, what should I think’. The use of a question about her internal problems highlight the level of control men had over women in this period – women were controlled both exterior and interior. This is further demonstrated when her father commanded her to cut her ties with Hamlet, she replied humbly ‘I shall obey my lord’. This highlights that their male counterparts controlled Women. Even Gertrude, the queen, due to her position as a woman, was unable to retain the position as queen on her own, and thus the reason for the hasty marriage to Claudius. Finally, When Ophelia sings, "Before you tumbled me, you promised me to Wed.," hamlet responds horribly answers: “So would I ha' done, a thou hadst not come to my bed."  Ophelia's song reflects a potential confession that she lost her virginity to Hamlet. With no male figure around and her confession, Ophelia does not have a future left. She is a pitiful character in the end, not once throughout the play does anyone say anything affectionate or show that she is loved. This highlights the power men had over women and their paths.

Although women are treated in a misogynistic manner, Shakespeare also does not present hamlet as traditional. Hamlet is not the traditional revenger as he is indecisive and goes against normality. Hamlet is very reluctant to act in a violent way, and this can be seen through the famous ‘to be or not to be’ speech. He exposes the fact that he is scared of death and that he is obsessed with morality. This highlights that hamlet is not a normal revenger who acts decisively; instead it allows him to give a witty voice to highlight the humanistic aspirations of the Renaissance. The hesitancy and questioning is further compounded by his inspiration by Fortinbras. He claims that that Fortinbras is ‘a delicate and tender prince’, showing that he admires the courage and decisiveness of Fortinbras. Hamlet wants these traits and after meeting, Fortinbras proclaims ‘now I’ll do it’. The fact that hamlet needed to see Fortinbras in action shows that Hamlet has little imitative to act in a violent way and subverts the classic ‘revenger’ in a revenge tragedy. Hamlet also uses religion as a reason for his inaction claiming that ‘now he is a’praying’ he could not act, as he would go to heaven. This is a clear contradiction to the believability of a ghost, as Protestantism did not believe in ghosts or purgatory. This subverts religious certainty, as he believes in purgatory and ghosts but is a protestant. Shakespeare has done this purposefully in order to show that the actors would feel anxious and discontent but the viewers would feel humanism and a sense of understanding to this indecision, presenting gender roles as clearly defined and hard to go against.

In conclusion, it is clear that Shakespeare creates a sympathetic image of gender stereotypes and roles as the females tragic deaths can be blamed on the issue of gender inequality as both characters are exemplified as weak and tools of manipulation by the male figures in their lives. This sympathy is also felt for hamlet as a humanist hero who cannot control his sexuality or his position as a male but chooses to live up to the role when it suits him. This can also be seen, as a feminist reading, to be a play that highlights the inequality and need for the change of gender stereotypes.